Elizabeth Canning.
TW 1754. Etching with drypoint, small margins, paper watermarked. Plate 184 x 147mm (7¼ x 5¾"). Slight stain on right; glued to backing sheet at top corners. Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation.
[Ref: 28956] £180.00
(£216.00 incl.VAT)

Elizabeth Canning.
TW [Thomas Worlidge] 1754. Etching, sheet 190 x 150mm (7½ x 6"). Trimmed on platemark; good impression on laid paper. Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation. First state before the number '70' added on the right side.State i/ii; D41; W69; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33024] £140.00
(£168.00 incl.VAT)

Elizabeth Canning.
TW [Thomas Worlidge] 1754. Etching, sheet 190 x 150mm (7½ x 6"). Trimmed on platemark; good impression on laid paper; glued to backing sheet at corners. Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation. First state before the number '70' added on the right side.State i/ii; D41; W69; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33025] £140.00
(£168.00 incl.VAT)

Elizabeth Canning.
TW [Thomas Worlidge] 1754. Etching, sheet 190 x 150mm (7½ x 6"). Small margins; good impression on laid paper; soiling at top. Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation. Second state after the number '70' added (in reverse) on the right side.State ii/ii; D41; W69; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33026] £160.00
(£192.00 incl.VAT)

Elizabeth Canning.
TW [Thomas Worlidge] 1754. Etching, sheet 190 x 150mm (7½ x 6"). Small margins; tipped into album sheet; worn later impression. Elizabeth Canning (1734-1773) in the witness box, portrayed here by Thomas Worlidge, the 'English Rembrandt'. Canning was a London scullerymaid whose alleged kidnapping caused a sensation in 1753. She disappeared for a month before returning to her mother's home. Susannah Wells and Mary Squires, Canning's alleged captors, were tried and found guilty. However, Crisp Gascoyne, trial judge and Lord Mayor of London, was unhappy with the verdict and began his own investigation which led to information proving Squires and her family to be innocent. Several of the prosecution witnesses recanted their earlier testimonies and Canning was tried and found guilty of perjury. She was sentenced to one month's imprisonment and seven years of transportation. Second state after the number '70' added (in reverse) on the right side.State ii/ii; D41; W69; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33027] £90.00
(£108.00 incl.VAT)

John Evelyn Esq.r
Tho.s Worlidge Fecit 1753. Etching with drypoint, large margins. Plate 140 x 95mm (5½ x 3¾"). Good impression. John Evelyn (1620-1706) the English writer, gardener and diarist, whose diaries, like those of Pepys, are significant records of 17th-century life. Both he and Pepys corresponded frequently, and much of this correspondence has been preserved. Etching by Thomas Worlidge, the 'English Rembrandt', after Nanteuil and used as the frontispiece to 'Sculptura' (1755).D72. Ex: collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32601] £220.00

[Simon Fraser]
Thos. Worlidge. fecit Etching, platemark 90 x 75mm (3½ x 3"). Fine but trimmed on platemark; false margins added; good impression on laid paper; 'Gen. Frazer' ms in early hand verso. Scarce portrait of Simon Fraser (1729-1777), army officer. Fraser served at Louisburg and fought under General Wolfe at Quebec in 1759 in the Seven Years' War. In the American War of Independence he was posted on the St Lawrence River in 1776, and was involved in attacks in upstate New York and Vermont before he was mortally wounded in the battle of Bemis Heights (near Saratoga, New York). By Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.W71; D79; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33044] £240.00

Mr Garrick in the Character of Tancred.
Painted, Etch'd & Sold by Tho. Worlidge, at his House in the little Piazza Covent Garden. [1752] Etching, platemark 165 x 125mm (6½ x 5"). Margins; good impression; tipped into album page. David Garrick in James Thomson's play 'Tancred and Sigismunda', which he acted at Drury Lane in 1752. The painter and printmaker Thomas Worlidge, who lived in Covent Garden and painted several portraits of the actors working in the nearby theatres, painted at least three of Garrick in this role (Garrick Club, Victoria & Albert Museum, and a private collection). Worlidge also made another, full-length etching of Garrick in a different pose. Posthumous impression after numbers erased.W79; D80; for Worlidge's other etching of Garrick see ref. 7478. Information from V&A website. Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32882] £95.00
(£114.00 incl.VAT)

William Kenrick, AEt. 36.
T. Worlidge f.ct. [n.d., c.1756.] Etching, 180 x 140mm (7 x 5½"). Trimmed inside platemark; glued to 18th century backing sheet along top edge. Portrait of William Kenrick (1729/30-1779), writer and translator, portrayed at the age of 36. Volumes of Locke, Shakespeare and Milton by his side, and symbols of the arts and sciences, indicate his profession and interests. This portrait was made at a time when Kenrick was spending much of his time on the continent, but before his best-known achievements, which include translations of Rousseau and Voltaire and theatrical works. He also courted controversy, accusing Garrick of a homosexual relationship with Isaac Bickerstaff in his 1772 pamphlet 'Love in the Suds' (which went through five editions before Kenrick suppressed the work and apologized, fearing imprisonment for libel). Less successfully, he sought to goad Dr Johnson through critical reviews and accusations (against which Johnson maintained a stoic silence). By Thomas Worlidge (1700-66), 'the English Rembrandt'.State ii/ii; W5; D115.
[Ref: 32730] £90.00
(£108.00 incl.VAT)

To the Right Hon.ble the Earl of Westmorland, Chancellor; to the Right Hon.ble the Earl of Litchfield, High Steward; to the Reverend the Vice-chancellor; all the Doctors, Masters, and Scholars of the University of Oxford, this Plate is humbly dedicated By their most Obedient Servant Thos Worlidge.
T.Worlidge del. Et Sculp.t. Pub'd According to Act of Parliam.t March 28th. 1761. Etching with drypoint, large margins. Fine impression; 460 x 615mm. Creasing. Vertical fold down centre not visible from front. The Installation of the 7th Earl of Westmorland as Chancellor of Oxford University in July 1759, held at the Sheldonian Theatre. With subscription sales in mind, Worlidge depicts nearly 200 faces, most now unknown; however Worlidge can be seen between the right pillar and the edge, pen in hand.Dack 71, 'Worlidge's largest and most important work'. See Oxoniensia, Vol LVI (1991), "The Oxford Installation of 1759" by Richard Sharp; a detailed study of the events and history of this print.
[Ref: 29230] £680.00

Rembrandt-van-Rhyn Painter & Engraver, Natus 1606, Obijt 1674.
B.R. f. 1752 Etching, platemark 155 x 100mm (6 x 4") very large margins. Portrait of Rembrandt, copied from Rembrandt's 1636 self-portrait etching with Saskia. While the initials suggest it was not made by Thomas Worlidge, 'the English Rembrandt' who copied many Rembrandt compositions and imitated his etching style, this print has much in common with those which Worlidge was making at the same time and may well have some connection to him.
[Ref: 39848] £130.00
(£156.00 incl.VAT)

Henry Simons the Polish Jew.
T. Worlidge fecit [ms lower right] Etching, platemark 165 x 110mm (6½ x 4¼"). Good impression; trimmed on platemark; cream laid paper. Portrait of Henry Simons, an Ashkenazi Jew who was beaten and robbed by James Ashley. He eventually received compensation, but only after being convicted of perjury for his accusations. The pamphlet 'The Case of Henry Simons, a Polish Jew Merchant; and his Appeal to the Public thereon' (1753) brought his case to a wider public. By Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.State i/ii; D146.
[Ref: 33062] £220.00

[St. Jerome and the lion]
[by Thomas Worlidge, c.1755] Etching, platemark 130 x 100m (5 x 4"). Strong impression with very large margins; excellent condition; on laid paper. St Jerome with the lion he helped by removing a thorn from its paw. By Thomas Worlidge (1700-66). Posthumous impression: after Worlidge's death, his prints were republished by his widow with numbers added in the plate corners to correspond with her 1767 sale catalogue of Worlidge prints. The 'English Rembrandt', Worlidge (1700-66) was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.State i/ii; W10; D83
[Ref: 32737] £140.00
(£168.00 incl.VAT)

[Philip Stanhope, Earl of Chesterfield]
[by Thomas Worlidge after Peter Lely] Etching, platemark 80 x 55mm (3¼ x 2¼"). Thread margins; tipped into album sheet. Proof before letters. Portrait of Philip Stanhope, second earl of Chesterfield (1633–1714), courtier and politician, etched by Thomas Worlidge (1700-66) after the portrait by Peter Lely (Melbourne Hall, Derbyshire). Under the Protectorate Chesterfield was involved in royalist plots but 'perceived as too far engaged with his mistresses to be a major influence' (DNB). After the Restoration he was made lord chamberlain to Catherine of Braganza, and later chief justice. Chesterfield was against declaring William and Mary king and queen after 1688, and subsequently refused all offers of employment from William although he remained active in local politics. One of only two engraved likenesses recorded by O'Donoghue. The printmaker Thomas Worlidge also etched his second wife Elizabeth.O'D 2; D47/8 (i/iii?); W25; Ex Collection of the Late Hon. C. Lennox-Boyd. See 33045 for Elizabeth Stanhope's portrait.
[Ref: 33028] £160.00
(£192.00 incl.VAT)

[Abraham offering up his son Isaac]
T Worlidge 1758 Etching, platemark 195 x 155mm (7¾ x 6"). Ink stains top left and right (possibly to cover up etched numbers 37 and 18); good impression and margins. Abraham offering up his son Isaac, as recounted in the Hebrew Bible. God asked Abraham to sacrifice Isaac, before preventing him from doing so at the last minute, having received proof that he is god-fearing. Etching by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression.State i/iii; W36; D2
[Ref: 32777] £110.00
(£132.00 incl.VAT)

[Abraham offering up his son Isaac]
T Worlidge 1758. Etching, platemark 190 x 150mm (7¾ x 6"). Trimmed inside platemark; surface loss top right. Abraham offering up his son Isaac, as recounted in the Hebrew Bible. God asked Abraham to sacrifice Isaac, before preventing him from doing so at the last minute, having received proof that he is god-fearing. Etching by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Later impression on wove paper after engraved numbers excised.State iii/iii; W36; D2
[Ref: 32780] £40.00
(£48.00 incl.VAT)

[Portrait of Sofonisba Anguissola at the Easel]
[Thomas Worlidge after Sofonisba Anguissola] Etching, platmark 190 x 155mm (7½ x 6"). Large margins; good impression Etching of Sofonisba Anguissola's famous 1556 self-portrait (Lancut Palace, Poland), although ms on this print suggests it was believed to be the wife of the artist printmaker Thomas Worlidge. Mary Worlidge (1767) titles the print 'a lady painting' while Dack (1907) also suggests it is Worlidge's wife, indicating the scarcity of knowledge of Anguissola's painting. Worlidge (1700-66), was pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. After his death, his widow Mary published further impressions of his plates, adding numbers to the plates to correspond with her own catalogue numbers (as here).State ii/iiW130; D119.
[Ref: 32943] £220.00

Apollo, on Cornelian, Duke of Marlborough.
T. Worlidge sculp. [British, n.d., c.1770.] Etching with drypoint with very wide margins, laid paper. 135 x 95mm. 5¼ x 3¾". Fine. A cameo of the Greek god Apollo, holding a lyre. Thomas Worlidge (1700-1766), portrait painter and etcher. Pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. His widow issued his plates in 1766 and 1767 after his death; very few impressions were issued and sold by Worlidge during his lifetime.
[Ref: 26464] £70.00
(£84.00 incl.VAT)

Sir Bernard Astley.
[etched by Thomas Worlidge 1758.] [published by T & H Rodd, 1827] Etching, plate 165 x 132mm (6½ x 5¼"). Small margins. Sir Bernard Astley (d.1645) was a Royalist who fell at Bristol; he was the son of Jacob Astley. Portrait study by Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. This plate was seemingly not offered for sale in Mary Worlidge's 1767 sale of Worlidge prints. This impression is from a 19th century republication.State ii/ii; D8; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32945] £60.00
(£72.00 incl.VAT)

[Sir Jacob Astley] [57 top left]
Thos. Worlidge Fecit 1757. Etching, sheet 160 x 130mm (6¼ x 5"). Good impression; trimmed inside platemark. Early ms. verso Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression.State ii/v; W56; D12; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32854] £140.00
(£168.00 incl.VAT)

Sir Jacob Astley [ms]
Thos. Worlidge Fecit 1757. Etching, platemark 165 x 130mm (6½ x 5"). Very good impression; thread margins; glued to album sheet. Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression.State i/v; W56; D12.
[Ref: 32855] £160.00
(£192.00 incl.VAT)

[Sir Jacob Astley]
Thos. Worlidge Fecit 1757. Etching, sheet 165 x 130mm (6½ x 5"). Good margins; tipped into album sheet at edges; pencil annotations 'very fine', 'a proof' [incorrectly] etc. Later number removed. Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression after numbers erased.State iv/v; W56; D12; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32856] £60.00
(£72.00 incl.VAT)

[Sir Jacob Astley]
Thos. Worlidge Fecit 1757. Etching, sheet 165 x 130mm (6½ x 5"). Large margins. Later number removed. Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression after numbers erased.State iv/v; W56; D12.
[Ref: 32857] £45.00
(£54.00 incl.VAT)

Sir Jacob Astley.
Published Aug. 1821 (From a Plate by Worlidge) by T. & H. Rodd. 17 Little Newport St. Leicester Sq. / Proof. Etching, sheet 165 x 130mm (6½ x 5"). Small margins; glue stains to corners. Sir Jacob Astley (1579-1652), royalist army officer and one of the best-known figures of the English civil war. After serving on the continent, Astley was appointed sergeant-major-general in the second bishops' war in 1640. In the civil war Astley led forces of up to 10,000 until his defeat and capture in Stow on the Wold in 1646. After time spent in prison, Astley spent his last years at the Old Palace, Maidstone, which he had inherited from a cousin. Portrait, probably after Van Dyck, etched by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Nineteenth century restrike of a plate etched by Worlidge in 1757.State v/v; W56; D12; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 32858] £65.00
(£78.00 incl.VAT)

Walter Baker by Worlidge [ms]
[by Thomas Worlidge, c.1755] Etching, platemark 200 x 155mm (8 x 6"). Fine impression; slight stains. Portrait by Thomas Worlidge (1700-66), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Lifetime impression before Worlidge's widow Mary issued new impressions in 1767 with number '61' added top right to correspond with the catalogue of his prints she produced. Dack reproduces an impression of this print with the following inscription in ms: 'This Portrait of Walter Baker (M.D. so created by himself) Painter, Designed & Etched by Thomas Worlidge Painter in the Little Piazza Covent Garden'.State i/ii; W61; D15; O'D incorrectly identifies this as a portrait of scientist Henry Baker, F.R.S.
[Ref: 32864] £260.00

[Dr Walter Baker] [61]
[by Thomas Worlidge.] Etching in sepia, Collector's mark at bottom; platemark 200 x 160mm (7¾ x 6½"). Printed on thick paper Posthumous impression of an etching by Thomas Worlidge (1700-66). Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. After his death, his widow published further impressions of his plates, adding new numbers to the plates to correspond with her own catalogue numbers, as here. The identity of the sitter follows that on the British Museum's impression of the same print.see BM 1877,0811.1275. Ex: Collection of the Late Honourable Christopher Lennox-Boyd.
[Ref: 32593] £110.00
(£132.00 incl.VAT)

[Old man with a white beard]
Etched by T. Worlidge. Pub. by R. Pollard, Spa Fields, 1790 Etching with very large margins, with Collector's mark at bottom; platemark 165 x 125mm (6½ x 5"). Posthumous impression of an etching by Thomas Worlidge. Worlidge etched his plate in the 1750s (before aquatint was used in England), but Robert Pollard republished several of Worlidge's plates in 1790 with aquatint which he presumably added to take advantage of the popularity of the medium at that time. Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.For impression before aquatint see ref. 32571. Ex: Collection of the Late Honourable Christopher Lennox-Boyd.
[Ref: 32603] £140.00
(£168.00 incl.VAT)

[A Beggar Man]
Thos. Worlidge Fecit 1754. Etching, platemark 160 x 115mm (6¼ x 4½"). Small margins; on cream laid paper; good impression. Study of a man on crutches by Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression after Worlidge's widow Mary issued new impressions in 1767 with the number '80' added upper right to correspond with the catalogue of his prints she produced (in which this print was listed as 'a beggar man').State i/ii; W46; D17; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33036] £120.00
(£144.00 incl.VAT)

[A Beggar Man]
Thos. Worlidge Fecit 1754. Etching, platemark 160 x 115mm (6¼ x 4½"). Large margins; on cream laid paper; good impression. Study of a man on crutches by Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Later impression after number '80' in top right removed (this was first put there when Worlidge's widow Mary issued new impressions in 1767 with the number '80' corresponding with its number in the catalogue of his prints she produced, and in which this print was listed as 'a beggar man').State ii/ii; W46; D17; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33037] £180.00
(£216.00 incl.VAT)

[A boy's head.]
Etched by T. Worlidge. Pub.d by R. Pollard Spa Fields 1790. Etching and aquatint, sheet 195 x 145mm (7¾ x 5¾"). Trimmed on platemark; white wove paper. Crease on lower left. Portrait study by Thomas Worlidge (1700-66) who specialised in etchings either copied from, or in the style of Rembrandt. Born in Peterborough, Worlidge was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Later impression after the publisher Robert Pollard added aquatint to make new impressions in 1790 from a plate by that time nearly forty years old.State iii/iii; W87, D28.
[Ref: 32889] £70.00
(£84.00 incl.VAT)

[Cherubim's Head.]
[by Thomas Worlidge] Etching, platemark 35 x 35mm (1¼ x 1¼"). Large margins; good impression on laid paper. Study of a cherub by Thomas Worlidge (1700 - 1766), 'the English Rembrandt' and a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married. Posthumous impression after Worlidge's widow Mary issued new impressions in 1767 with the number '119' added to correspond with the catalogue of his prints she produced.W119; D45; Ex collection of the Late Hon. C. Lennox-Boyd.
[Ref: 33038] £60.00
(£72.00 incl.VAT)

[Christ healing the sick] 4 [top left]
T.W. 1758 [Thomas Worlidge after Rembrandt, published November 1758] Etching, 275 x 390mm (10¾ x 15½"). Fine impression printed in brown; thread margins; glued to backing sheet at corners, stain, one small hole top centre. Thomas Worlidge's (1700-66) copy of Rembrandt's famous 'hundred guilder print', depicting Christ healing the sick and debating with the Pharisees. Its sobriquet originated with a story that Rembrandt himself had to pay this (then exorbitant) price to buy back an impression. Since Rembrant etched his plate in 1648 it was celebrated as his most complex and ambitious print, and its masterful lighting compared with his 'Night Watch'. Its lasting influence in England is demonstrated by both Worlidge's attempt to take up the challenge of emulating Rembrandt, and by Captain William Baillie's notorious reissuing of the (heavily-worked) original plate. Posthumous impression: after Worlidge's death, his prints were republished by his widow with numbers added in the plate corners to correspond with her 1767 sale catalogue of Worlidge prints. The 'English Rembrandt', Worlidge (1700-66) was a pupil of Alessandro Maria Grimaldi, whose daughter Arabella he married.State iii/iii; W4; D54.
[Ref: 32729] £220.00